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"She Bop" was the third commercially released solo single by American singer Cyndi Lauper.An accompanying music video aired heavily on MTV and featured Lauper as a quirky sexual liberator leading the brainwashed masses to their own liberation. (This was done in metaphor showing teenagers as disgusting fast-food consuming zombies.) There were many double meanings indicating the 's true meaning, including a magazine that Lauper is staring at titled "Beefcake" and other sexual meanings such as the "self-service" sign and three gas pumps with the signs Good, Better and Nirvana in the cartoon part of the video, the vibrating motorcycle, the "masterbingo" part of the video with "Uncle Siggy" Sigmund Freud as host, and Lauper wearing blackout glasses with a white cane in several scenes of the video. In fact, the video doesn't go as far as the lyrics, as the magazine referenced in the song ("...in the pages of a Blueboy magazine") was a popular gay erotica magazine of the time, whereas the magazine Lauper holds represents the tamer—and somewhat closeted—erotica of an earlier era. The song was controversial, owing to lyrics that addressed masturbation. Part of the lyrics, "They say I better stop - or I'll go blind"'is an allusion to a common myth about masturbation. It was also included on the Parents Music Resource Center's "Filthy Fifteen" list, due to its sexual lyrics. Other songs on the list included tracks by Madonna, Prince, AC/DC, among others. This led to the creation of the parental advisory sticker. In an interview on the Howard Stern Show, she stated that she recorded the vocals of the song naked.Lauper said she wanted little kids to think it was about dancing, and to understand the real meaning as they got older. She never directly stated in the song what the meaning of the song was, so it could receive airplay. The plan worked.The single has been released in over 32 variations across the world, the most common being a two track 7" vinyl single (with varying covers) and a two track 12" vinyl single (also with varying covers).Lauper recorded a slow ballad version of the song for her album The Body Acoustic. Author: lastmatureman Keywords: americanfemaleartists cyndilauper shessounusual shebop blueboy masturbation Added: April 24, 2008

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The group has gradually gained further exposure including Richard Christy on The Howard Stern Show mentioning his attendance at one of their concerts. The February 2008 edition of Terrorizer magazine confirmed that the band is working ...

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BuzzcocksLive at GO 08Stockholmsfesten 080808 at Medborgarplatsen, StockholmAugust 8th 2008The band:Pete ShelleySteve DiggleTony BarberDanny FarrantAbout: (from Wikipedia)Buzzcocks are an English punk rock band formed in Manchester in 1975, led by singer/songwriter/guitarist Pete Shelley for nearly their entire existence.[7]They are commonly regarded as an important influence on the Manchester music scene, the independent record label movement and the punk rock, power pop, pop punk and indie rock genres in general.[8] They are primarily remembered for their singles, a string of would-be hits that combined a strong grasp of pop song craftsmanship with rapid-fire punk energy. These singles were collected on Singles Going Steady, described by critic Ned Raggett as a "punk masterpiece"[9] The widely covered "Ever Fallen in Love (With Someone You Shouldn't've)" remains one of their best-known songs.The name "Buzzcocks" partially comes from the Manchester slang term cock meaning youngster, and its use in the 1970s ITV drama serial Rock Follies which included the catch phrases "that's the buzz, cocks" and "give me a buzz, cock!"Early yearsThe band was formed in 1975 by guitarist/singer Pete Shelley (real name Peter McNeish) and singer Howard Devoto (real name Howard Trafford), both students at Bolton Institute of Technology (now the University of Bolton). They shared common interests in electronic music, the idiosyncratic work of British musician Brian Eno, and American protopunk groups like The Stooges. In late 1975, Shelley and Devoto recruited a drummer and formed an embryonic version of Buzzcocks that never performed and which dissolved after a number of rehearsals.After reading an NME review of the Sex Pistols' first performance, Shelley and Devoto travelled to London together to see the Sex Pistols in February 1976. Shelley and Devoto were impressed by what they saw and arranged for the Sex Pistols to come and perform at the Lesser Free Trade Hall in Manchester, in June 1976. Buzzcocks intended to play at this concert, but the other musicians dropped out, and Shelley and Devoto were unable to recruit other musicians in time for the gig. Once they had recruited bass guitarist Steve Diggle and drummer John Maher, they made their debut opening for the Sex Pistols' second Manchester concert in July 1976. A brief clip of Devoto-era Buzzcocks performing The Troggs "I Can't Control Myself" appears in the Punk: Attitude documentary directed by Don Letts. In September of 1976 the band travelled to London to perform at the two-day 100 Club Punk Festival, organized by Malcolm McLaren. Other performers included: the Sex Pistols, Subway Sect, Siouxsie & the Banshees, The Clash, The Vibrators, The Damned and the French band Stinky Toys.By the end of the year, Buzzcocks had recorded and released a four-track EP, Spiral Scratch on their own New Hormones label, making them one of the first punk groups to establish an independent record label trailing only The Saints's "(I'm) Stranded". Produced by Martin Hannett, the music was roughly recorded, insistently repetitive, and energetic. "Boredom" announced punk's rebellion against the status quo while templating a strident musical minimalism (the guitar solo consisting of two repeated notes). The demos recorded while Devoto was in the band were later issued officially as Time's Up. Long available as a bootleg, this album includes the alternative takes of all the tracks from the Spiral Scratch EP as well as early version of tracks that later appeared on the official debut Another Music in a Different Kitchen.After a few months, Devoto left the group; he returned to school for a year, then formed Magazine. Pete Shelley continued as vocalist; his high-pitched, melodic singing stood in stark contrast to the gruff pub rock vocal stylings of many punk contemporaries. Diggle switched from bass to guitar, and Garth Smith joined on bass; due to Smith's alcoholism, he was quickly replaced with Steve Garvey. This new line-up signed with United Artists Records.[edit] Signing to UAITheir first UAI Buzzcocks single, "Orgasm Addict", was a playful examination of compulsive sexuality that was (and remains) uncommonly bold. The BBC refused to play the song, but the single sold well. Later, more ambiguous songs staked out a territory defined by Shelley's bisexuality and punk's aversion to serious examination of human sexuality. The next single, "What Do I Get?" reached the UK top 40 charts. "Lipstick", the B-side to "Promises," shared the same ascending progression of notes in its chorus as Magazine's first single, "Shot By Both Sides," also released in 1978. Author: tonybogren Keywords: gratisistockholm buzzcocks buzz cocks manchester british uk u.k. united kingdom punkrock punk rock live stockholm 080808 Added: August 9, 2008

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BuzzcocksLive at GO 08Stockholmsfesten 080808 at Medborgarplatsen, StockholmAugust 8th 2008The band:Pete ShelleySteve DiggleTony BarberDanny FarrantAbout: (from Wikipedia)Buzzcocks are an English rock band formed in Manchester in 1975, led by singer/songwriter/guitarist Pete Shelley for nearly their entire existence.[7]They are commonly regarded as an important influence on the Manchester music scene, the independent record label movement and the punk rock, power pop, pop punk and indie rock genres in general.[8] They are primarily remembered for their singles, a string of would-be hits that combined a strong grasp of pop song craftsmanship with rapid-fire punk energy. These singles were collected on Singles Going Steady, described by critic Ned Raggett as a "punk masterpiece"[9] The widely covered "Ever Fallen in Love (With Someone You Shouldn't've)" remains one of their best-known songs.The name "Buzzcocks" partially comes from the Manchester slang term cock meaning youngster, and its use in the 1970s ITV drama serial Rock Follies which included the catch phrases "that's the buzz, cocks" and "give me a buzz, cock!"Early yearsThe band was formed in 1975 by guitarist/singer Pete Shelley (real name Peter McNeish) and singer Howard Devoto (real name Howard Trafford), both students at Bolton Institute of Technology (now the University of Bolton). They shared common interests in electronic music, the idiosyncratic work of British musician Brian Eno, and American protopunk groups like The Stooges. In late 1975, Shelley and Devoto recruited a drummer and formed an embryonic version of Buzzcocks that never performed and which dissolved after a number of rehearsals.After reading an NME review of the Sex Pistols' first performance, Shelley and Devoto travelled to London together to see the Sex Pistols in February 1976. Shelley and Devoto were impressed by what they saw and arranged for the Sex Pistols to come and perform at the Lesser Free Trade Hall in Manchester, in June 1976. Buzzcocks intended to play at this concert, but the other musicians dropped out, and Shelley and Devoto were unable to recruit other musicians in time for the gig. Once they had recruited bass guitarist Steve Diggle and drummer John Maher, they made their debut opening for the Sex Pistols' second Manchester concert in July 1976. A brief clip of Devoto-era Buzzcocks performing The Troggs "I Can't Control Myself" appears in the Punk: Attitude documentary directed by Don Letts. In September of 1976 the band travelled to London to perform at the two-day 100 Club Punk Festival, organized by Malcolm McLaren. Other performers included: the Sex Pistols, Subway Sect, Siouxsie & the Banshees, The Clash, The Vibrators, The Damned and the French band Stinky Toys.By the end of the year, Buzzcocks had recorded and released a four-track EP, Spiral Scratch on their own New Hormones label, making them one of the first punk groups to establish an independent record label trailing only The Saints's "(I'm) Stranded". Produced by Martin Hannett, the music was roughly recorded, insistently repetitive, and energetic. "Boredom" announced punk's rebellion against the status quo while templating a strident musical minimalism (the guitar solo consisting of two repeated notes). The demos recorded while Devoto was in the band were later issued officially as Time's Up. Long available as a bootleg, this album includes the alternative takes of all the tracks from the Spiral Scratch EP as well as early version of tracks that later appeared on the official debut Another Music in a Different Kitchen.After a few months, Devoto left the group; he returned to school for a year, then formed Magazine. Pete Shelley continued as vocalist; his high-pitched, melodic singing stood in stark contrast to the gruff pub rock vocal stylings of many punk contemporaries. Diggle switched from bass to guitar, and Garth Smith joined on bass; due to Smith's alcoholism, he was quickly replaced with Steve Garvey. This new line-up signed with United Artists Records.[edit] Signing to UAITheir first UAI Buzzcocks single, "Orgasm Addict", was a playful examination of compulsive sexuality that was (and remains) uncommonly bold. The BBC refused to play the song, but the single sold well. Later, more ambiguous songs staked out a territory defined by Shelley's bisexuality and punk's aversion to serious examination of human sexuality. The next single, "What Do I Get?" reached the UK top 40 charts. "Lipstick", the B-side to "Promises," shared the same ascending progression of notes in its chorus as Magazine's first single, "Shot By Both Sides," also released in 1978. Author: tonybogren Keywords: gratisistockholm buzzcocks buzz cocks manchester british uk u.k. united kingdom punkrock punk rock live stockholm 080808 Added: August 9, 2008

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BuzzcocksLive at GO 08Stockholmsfesten 080808 at Medborgarplatsen, StockholmAugust 8th 2008The band:Pete ShelleySteve DiggleTony BarberDanny FarrantAbout: (from Wikipedia)Buzzcocks are an English punk rock band formed in Manchester in 1975, led by singer/songwriter/guitarist Pete Shelley for nearly their entire existence.[7]They are commonly regarded as an important influence on the Manchester music scene, the independent record label movement and the punk rock, power pop, pop punk and indie rock genres in general.[8] They are primarily remembered for their singles, a string of would-be hits that combined a strong grasp of pop song craftsmanship with rapid-fire punk energy. These singles were collected on Singles Going Steady, described by critic Ned Raggett as a "punk masterpiece"[9] The widely covered "Ever Fallen in Love (With Someone You Shouldn't've)" remains one of their best-known songs.The name "Buzzcocks" partially comes from the Manchester slang term cock meaning youngster, and its use in the 1970s ITV drama serial Rock Follies which included the catch phrases "that's the buzz, cocks" and "give me a buzz, cock!"Early yearsThe band was formed in 1975 by guitarist/singer Pete Shelley (real name Peter McNeish) and singer Howard Devoto (real name Howard Trafford), both students at Bolton Institute of Technology (now the University of Bolton). They shared common interests in electronic music, the idiosyncratic work of British musician Brian Eno, and American protopunk groups like The Stooges. In late 1975, Shelley and Devoto recruited a drummer and formed an embryonic version of Buzzcocks that never performed and which dissolved after a number of rehearsals.After reading an NME review of the Sex Pistols' first performance, Shelley and Devoto travelled to London together to see the Sex Pistols in February 1976. Shelley and Devoto were impressed by what they saw and arranged for the Sex Pistols to come and perform at the Lesser Free Trade Hall in Manchester, in June 1976. Buzzcocks intended to play at this concert, but the other musicians dropped out, and Shelley and Devoto were unable to recruit other musicians in time for the gig. Once they had recruited bass guitarist Steve Diggle and drummer John Maher, they made their debut opening for the Sex Pistols' second Manchester concert in July 1976. A brief clip of Devoto-era Buzzcocks performing The Troggs "I Can't Control Myself" appears in the Punk: Attitude documentary directed by Don Letts. In September of 1976 the band travelled to London to perform at the two-day 100 Club Punk Festival, organized by Malcolm McLaren. Other performers included: the Sex Pistols, Subway Sect, Siouxsie & the Banshees, The Clash, The Vibrators, The Damned and the French band Stinky Toys.By the end of the year, Buzzcocks had recorded and released a four-track EP, Spiral Scratch on their own New Hormones label, making them one of the first punk groups to establish an independent record label trailing only The Saints's "(I'm) Stranded". Produced by Martin Hannett, the music was roughly recorded, insistently repetitive, and energetic. "Boredom" announced punk's rebellion against the status quo while templating a strident musical minimalism (the guitar solo consisting of two repeated notes). The demos recorded while Devoto was in the band were later issued officially as Time's Up. Long available as a bootleg, this album includes the alternative takes of all the tracks from the Spiral Scratch EP as well as early version of tracks that later appeared on the official debut Another Music in a Different Kitchen.After a few months, Devoto left the group; he returned to school for a year, then formed Magazine. Pete Shelley continued as vocalist; his high-pitched, melodic singing stood in stark contrast to the gruff pub rock vocal stylings of many punk contemporaries. Diggle switched from bass to guitar, and Garth Smith joined on bass; due to Smith's alcoholism, he was quickly replaced with Steve Garvey. This new line-up signed with United Artists Records.[edit] Signing to UAITheir first UAI Buzzcocks single, "Orgasm Addict", was a playful examination of compulsive sexuality that was (and remains) uncommonly bold. The BBC refused to play the song, but the single sold well. Later, more ambiguous songs staked out a territory defined by Shelley's bisexuality and punk's aversion to serious examination of human sexuality. The next single, "What Do I Get?" reached the UK top 40 charts. "Lipstick", the B-side to "Promises," shared the same ascending progression of notes in its chorus as Magazine's first single, "Shot By Both Sides," also released in 1978. Author: tonybogren Keywords: gratisistockholm buzzcocks buzz cocks manchester british uk u.k. united kingdom punkrock punk rock live stockholm 080808 Added: August 9, 2008

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BuzzcocksLive at GO 08Stockholmsfesten 080808 at Medborgarplatsen, StockholmAugust 8th 2008The band:Pete ShelleySteve DiggleTony BarberDanny FarrantAbout: (from Wikipedia)Buzzcocks are an English punk rock band formed in Manchester in 1975, led by singer/songwriter/guitarist Pete Shelley for nearly their entire existence.[7]They are commonly regarded as an important influence on the Manchester music scene, the independent record label movement and the punk rock, power pop, pop punk and indie rock genres in general.[8] They are primarily remembered for their singles, a string of would-be hits that combined a strong grasp of pop song craftsmanship with rapid-fire punk energy. These singles were collected on Singles Going Steady, described by critic Ned Raggett as a "punk masterpiece"[9] The widely covered "Ever Fallen in Love (With Someone You Shouldn't've)" remains one of their best-known songs.The name "Buzzcocks" partially comes from the Manchester slang term cock meaning youngster, and its use in the 1970s ITV drama serial Rock Follies which included the catch phrases "that's the buzz, cocks" and "give me a buzz, cock!"Early yearsThe band was formed in 1975 by guitarist/singer Pete Shelley (real name Peter McNeish) and singer Howard Devoto (real name Howard Trafford), both students at Bolton Institute of Technology (now the University of Bolton). They shared common interests in electronic music, the idiosyncratic work of British musician Brian Eno, and American protopunk groups like The Stooges. In late 1975, Shelley and Devoto recruited a drummer and formed an embryonic version of Buzzcocks that never performed and which dissolved after a number of rehearsals.After reading an NME review of the Sex Pistols' first performance, Shelley and Devoto travelled to London together to see the Sex Pistols in February 1976. Shelley and Devoto were impressed by what they saw and arranged for the Sex Pistols to come and perform at the Lesser Free Trade Hall in Manchester, in June 1976. Buzzcocks intended to play at this concert, but the other musicians dropped out, and Shelley and Devoto were unable to recruit other musicians in time for the gig. Once they had recruited bass guitarist Steve Diggle and drummer John Maher, they made their debut opening for the Sex Pistols' second Manchester concert in July 1976. A brief clip of Devoto-era Buzzcocks performing The Troggs "I Can't Control Myself" appears in the Punk: Attitude documentary directed by Don Letts. In September of 1976 the band travelled to London to perform at the two-day 100 Club Punk Festival, organized by Malcolm McLaren. Other performers included: the Sex Pistols, Subway Sect, Siouxsie & the Banshees, The Clash, The Vibrators, The Damned and the French band Stinky Toys.By the end of the year, Buzzcocks had recorded and released a four-track EP, Spiral Scratch on their own New Hormones label, making them one of the first punk groups to establish an independent record label trailing only The Saints's "(I'm) Stranded". Produced by Martin Hannett, the music was roughly recorded, insistently repetitive, and energetic. "Boredom" announced punk's rebellion against the status quo while templating a strident musical minimalism (the guitar solo consisting of two repeated notes). The demos recorded while Devoto was in the band were later issued officially as Time's Up. Long available as a bootleg, this album includes the alternative takes of all the tracks from the Spiral Scratch EP as well as early version of tracks that later appeared on the official debut Another Music in a Different Kitchen.After a few months, Devoto left the group; he returned to school for a year, then formed Magazine. Pete Shelley continued as vocalist; his high-pitched, melodic singing stood in stark contrast to the gruff pub rock vocal stylings of many punk contemporaries. Diggle switched from bass to guitar, and Garth Smith joined on bass; due to Smith's alcoholism, he was quickly replaced with Steve Garvey. This new line-up signed with United Artists Records.[edit] Signing to UAITheir first UAI Buzzcocks single, "Orgasm Addict", was a playful examination of compulsive sexuality that was (and remains) uncommonly bold. The BBC refused to play the song, but the single sold well. Later, more ambiguous songs staked out a territory defined by Shelley's bisexuality and punk's aversion to serious examination of human sexuality. The next single, "What Do I Get?" reached the UK top 40 charts. "Lipstick", the B-side to "Promises," shared the same ascending progression of notes in its chorus as Magazine's first single, "Shot By Both Sides," also released in 1978. Author: tonybogren Keywords: gratisistockholm buzzcocks buzz cocks manchester british uk u.k. united kingdom punkrock punk rock live stockholm 080808 Added: August 9, 2008

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http://www.emfnews.org/qlinks.html Watch as this man uses special device to measure dangers of cell phones and office equipment.A cellular phone is basically a radio that sends signals on waves to a base station. The carrier signal generates two types of radiation fields: a near-field plume and a far-field plume. Living organisms, too, generate electromagnetic fields at the cellular, tissue, organ, and organism level; this is called the biofield. Both the near-field and far-field plumes from cell phones and in the environment can wreak havoc with the human biofield, and when the biofield is compromised in any way, says Dr. Carlo, so is metabolism and physiology."The near field plume is the one we're most concerned with. This plume that's generated within five or six inches of the center of a cell phone's antenna is determined by the amount of power necessary to carry the signal to the base station," he explains. "The more power there is, the farther the plume radiates the dangerous information-carrying radio waves."A carrier wave oscillates at 1900 megahertz (MHz) in most phones, which is mostly invisible to our biological tissue and doesn't do damage. The information-carrying secondary wave necessary to interpret voice or data is the problem, says Dr. Carlo. That wave cycles in a hertz (Hz) range familiar to the body. Your heart, for example, beats at two cycles per second, or two Hz. Our bodies recognize the information-carrying wave as an "invader," setting in place protective biochemical reactions that alter physiology and cause biological problems that include intracellular free-radical buildup, leakage in the blood-brain barrier, genetic damage, disruption of intercellular communication, and an increase in the risk of tumors. The health dangers of recognizing the signal, therefore, aren't from direct damage, but rather are due to the biochemical responses in the cell.Here's what happens:Cellular energy is now used for protection rather than metabolism. Cell membranes harden, keeping nutrients out and waste products in.Waste accumulating inside the cells creates a higher concentration of free radicals, leading to both disruption of DNA repair (micronuclei) and cellular dysfunction.Unwanted cell death occurs, releasing the micronuclei from the disrupted DNA repair into the fluid between cells (interstitial fluid), where they are free to replicate and proliferate. This, says Dr. Carlo, is the most likely mechanism that contributes to cancer.With the background levels of information-carrying radio waves dramatically increasing because of the widespread use of cell phones,Wi-Fi, and other wireless communication, the effects from the near and far-fields are very similar. Overall, says Dr. Carlo, almost all of the acute and chronic symptoms seen in electrosensitive patients can be explained in some part by disrupted intercellular communication. These symptoms of electrosensitivity include inability to sleep, general malaise, and headaches. Could this explain the increase in recent years of conditions such as ADHD), autism, and anxiety disorder?"One thing all these conditions have in common is a disruption, to varying degrees, of intercellular communication. When we were growing up, TV antennas were on top of our houses and such waves were up in the sky. Cell phones and Wi-Fi have brought those things down to the street, integrated them into the environment, and that's absolutely new. The recognition mechanism, where protein vibration sensors on the cell membrane pick up a signal and interpret it as an invader, only works because the body recognizes something it's never seen before."As to increases in brain tumors tied to cell phone use, it's too early to tell due to a lack of hard data, says Dr. Carlo. "We're never going to see that in time to have it matter. Here in the US, we're six years behind in getting the brain tumor database completed, and currently the best data are from 1999. By the time you see any data showing an increase, the ticking time bomb is set."Epidemic curve projections, however, indicate that in 2006, we can expect to see 40,000 to 50,000 cases of brain and eye cancer. This is based on published peer-reviewed studies that allow calculation of risk and construction of epidemic curves. By 2010, says Dr. Carlo, expect that number to be between 400,000 and 500,000 new cases worldwide."This means we're on the beginning curve of an epidemic, with epidemic defined as a change in the occurrence of a disease that is so dramatic in its increase that it portends serious public health consequences," says Dr. Carlo. "This is what's not being told to the public. One of the things that I suggest to people who use a cell phone is to use an air tube headset. If you use a wired headset, the current moving through the wire of the headset attracts ambient informational carrying radio waves and thereby increases your exposure." http://www.emfnews.org/headset.html Author: breatheasy7000 Keywords: cell phones emf radiation electric magnetic fields bluetooth dangers microwaves health problems howard stern branson Added: October 14, 2006

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